The reception of Norwegian-South African musical interactions: a study of selected musical collaborations from the 19th century to the present. Ragnhild Vreim Tveitan VRMRAG001 Dissertation submitted in fulfilment of the requirements for the degree of Master in Music Master of Musicology Faculty of the Humanities University of Cape Town 2007 The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town Compulsory Declaration This work has not previously been submitted as a whole, or in part, for the award of any degree. It is my own work. Each significant contribution to and quotation in this dissertation from the work, or works, of other people has been attributed, cited and referenced. Signature: ________________ Date: _________ 11 Abstract This research project investigates the perception of Norwegian-South African musical interactions. It is an in depth study of four recent cases of musical collaboration between Norwegian and South African musicians with an emphasis on the Norwegian musicians perception of "the Other". Furthermore, it is an investigation into the fusion of music within these collaborations by assessing the discernible "South African flavour" and "Norwegian flavour" and an analysis of how they fuse. This qualitative case study was executed by employing empirical field work techniques such as observation, indirect observation, focussed interviews and library­ based research. The data collected during the field work process was then analysed by using case study analysis, textual analysis through aural analysis, and discourse analysis. My main findings are based on primary data collected during field work but also significantly on secondary data from album reviews, other interviews, magazine articles, album liner notes, biographies, discographies, books and periodicals. The concluding remarks show that there was a general perception of curiosity and interest in "the Other" which has increased as the standard of Norwegian living has allowed more people to travel around the world. The increased level of immigration to Norway as result of major conflicts around the world has also exposed Norwegians to a multi-cultural society, hence an increased knowledge of other people and their cultures. However, this is a general understanding of the cultural situation in Norway and it is possible that artists tend to be more receptive of and interested in other musical cultures. iii \ Dedication This dissertation is dedicated to my parents, Ingerid Lise Vreim Tveitan and Per Halvor Tveitan. Without you I would not be who I am today. Thank you so much for your absolute support, encouragement and love. Tusen millioner takk! iv Acknowledgements I wish to express my gratitude to the following persons: • My parents; Ingerid Vreim Tveitan and Per Tveitan: Thank you so much for all your assistance, transport and financial support during my field work in Norway as well as throughout my studies. • Ivan Mazuze: Your unwavering support and love, encouragement and structural guidance through consultation of your thesis, The significance of music in the performance of the swikwembu ritual practices amongst the Shangana Tsonga people ofsemi-urban southern Mozambique (Mazuze 2006). • My supervisor, Michael Nixon: A big thank you for you expert guidance, patience and enthusiastic support. • The Deputy Director of South African College of Music (SACM), Associate Professor Dr. Anri Herbst: Thank you so much for guiding me through the bureaucratic difficulties and financial issues posed by various factors during the research process. • Sylvia Bruinders: Thanks for helping me shape my academic direction. • All my research consultants. Gjerstad, Antonsen, Tafjord, Nilssen-Love, Yenana and Kolbe: Thank you! • Thanks go to my brother, Olav Tveitan and my sister-in-law, Bodil Sand0)' Tveitan, for accommodation during my field work and for lending me the Sony mini disk player for recording the interviews. • Thanks to my teachers, Professor Dr. Mike Rossi, Associate Professor Mike Campbell and senior lecturer Darryl Andrews. • Thanks to Nils Kristian H0)'myr and Bj0fg Berg0)' Johansen at the NMS archives at the Norwegian Missionary College (MRS) in Stavanger. • Thanks to Shaheema Luckan at the South African College of Music (SACM) library at DCT for locating and obtaining crucial periodicals and dissertations. • Thanks to my editor, Hester Honey, for editing my thesis. v List of Abbreviations ANC African National Congress DNO Den N,orske Opera (The Norwegian National Opera) FBF Field Band Foundation ISCM International Society for Contemporary Mu~ic KKV Kirkelig Kulturverksted (Christian Culture Workshop [my translation]). L WF Lutheran World Federation MFA Norwegian Ministry of Foreign Affairs, (English tenn for Utenriksdepartamentet) MRS Misjonsh0gskolen in Stavanger MMINO South African-Norwegian Education and Music Programme MMP Making Music Productions NATO North Atlantic Treaty Organisation NCA Norwegian Church Aid (Kirkens N0dhjelp) NJF Norwegian Jazz Forum (Norsk Jazz Forbund) NMF Norges Musikk Forbund (Norwegian Music Foundation) NMS Norsk Misjonsselskap (Norwegian Missionary Society) NMT Norsk Missions-Tidende (The monthly periodical of the NMS) NOCOSA The Norwegian Council for Southern Africa (Fellesnidet for det s0rlige Afrika) NORAD Norwegian Agency for Development Cooperation NRK Norsk Rikskringkasting (The Norwegian Broadcasting Corporation). NTNU Norges Teknisk-Naturvitenskaplige Universitet (Norwegian University of Science and Technology) SACM South African College of Music SAN South African-Norwegian UCT University of Cape Town un Utenriksdepartamentet, (Norwegian tenn for the MFA) UiO Universitetet i Oslo (Univeristy of Oslo) UKZN University of KwaZulu Natal VI UN United Nations UND University of Natal, Durban VG Verdens Gang WCC World Council of Churches ZLDC Zululand Land Delimitation Commission Vll List of 'figures FIGURE 1: MAp OF SOUTH AFRICA .............. ;.................................................................................................... 9 FIGURE 2: MAP OF NORWAY ........................................................................................................................... 23 FIGURE 3: JOHNNY DYANI AT THE BLUE NOTES FIRST PERFORMANCE IN LONDON, 1965 ............................. 39 FIGURE 4: LOUIS MOHOLO AT THE CASTLE LAGER FESTIV AL ...................................................................... .40 FIGURE 5: THE BLUE NOTES IN EUROPE. FROM LEFT: LOUIS MOHOLO, DUDU PUKWANA, CHRIS MCGREGOR, MOGEZI FEZA AND JOHNNY DYANI ............................................................................... .41 FIGURE 6: FRODE GJERSTAD ..............., .......................................................................................................... 60 FIGURE 7: FRODE GJERSTAD PLAYING ALTO SAXOPHONE IN NEW yORK ....................................................... 93 FIGURE 8: ALBUM COVER OF THE BACKWARDS AND FORWARDS) ................................................................. 97 FIGURE 9: JoHNNY DYANI, PLAYING WITH HIS BAND MUSIC FOR XABA IN 1972 ........................................... 99 FIGURE 10: LOUIS MOHOLO-MOHOLO .................................................................. ; ...................................... 101 FIGURE 11: PAAL NILSSEN-LOVE PLA YING WITH ZIM NGQAWANA ON THE ZIMOLOGYRECORDING ............. 104 FIGURE 12: ANDILE yENANA ....................................................................................................................... 108 FIGURE 13: THE FRONT COVER OF THE SAN SONG ALBUM. ............................................................................ 11 0 FIGURE 14: FRONT COVER OF THE ZIMOLOGY ALBUM ................................................................................. 116 FIGURE 15: FRONT COVER OF THE INGOMA ALBUM ...................................................................................... 119 FIGURE 16: WOMENUNITEPERFORMrNG IN CAPE TOWN ............................................................................ 122 FIGURE 17: THE BRAZZ BROTHERS FROM LEFT: RUNAR T AFJORD; HELGE F0RDE, JAN MAGNE F0RDE, JARLEF0RDE, MARCUS LEWIN AND STEIN ERIK TAFJORD ............................................................... 125 FIGURE 18: SOUTHAFROBRAZZ PREFOMING AT ROYAL PRINCESS MARTA LOUlSE'S WEDDING TO ARI BEHN .................................................................................................................................' .......................... 126 FIGURE 19: SOUTHAFROBRAZZ: TOUR IN NORWA Y AND SWEDEN IN AUGUST 2006 ................................... 128 FIGURE 20: THE FRONT COVER OF SOUTHAFROBRAZZ - LIVE IN CAPE TOWN ............................................... 131 FIGURE 21 : PICTURE OF MARIANNE ANTONSEN FORM ALBUM LINER NOTES ............................................... 13 5 FIGURE 22: ALBUM COVERBLOMSTERI SOWETO ..............................................••.......................................... 137 FIGURE 23 :THE LOGO FOR RIKSKONSERTENE .............................................................................................. 141 FIGURE 24: THEMMINOLOGO ....................................................................................................................